The new room was entered through a Gothic portal or temple, which contained portraits of George the Third and Queen Charlotte, and also formed the starting-point of a semicircular piazza or colonnade that swept round to a similar terminal temple at the end of the arc. Between these two, in the middle of the semicircle, was a higher central structure denominated in old prints the Temple of Cornus. This is said, rather vaguely, to have been 'embellished with rays,' and had above it a large star or sun, which, from the description, would seem to have been illuminated at night. Inside, it was painted with a composition 'in the Chinese taste' representing Vulcan catching Mars and Venus in the historical net, the painter being named (not inappropriately) Risquet. The two pavilions or alcoves immediately adjoining also contained pictures. To the right a lady and gentleman were shown entering Vauxhall; to the left was a presumably emblematic design of 'Friendship on the grass, drinking.' Other boxes fitted for the accommodation of supper-parties, but having no pictorial decorations, extended on either side of the Temple of Cornus. Of the terminal temples, one, as already stated, served as the porch to the new room; its fellow at the farther end ultimately formed the entrance to a famous and popular entertainment referred to in a former paper, * and known indifferently as the 'Waterworks' or the 'Cascade.' * See ante,--'The Citizen of the World,' p. 161. Some of the earlier references to this, or to its earliest form, are more or less contemptuous, as the 'World,' the 'Connoisseur,' and the 'Gray's Inn Journal' all speak of it slightingly as the 'Tin Cascade.' But, as time went on, it must have been greatly improved. Here is Moritz's description of it in 1782: 'Lateish in the evening [i.e. about nine o'clock], we were entertained with a sight, that is indeed singularly curious and interesting. In a particular part of the garden, a curtain was drawn up, and by means of some mechanism, of extraordinary ingenuity, the eye and the ear are so completely deceived, that it is not easy to persuade one's-self it is a deception; and that one does not actually see and hear a natural waterfall from an high rock.' The next sentence adds a characteristic detail: 'As every one was flocking to this scene in crowds, there arose all at once, a loud cry of "Take care of your pockets." This informed us, but too clearly, that there were some pick-pockets among the crowd, who had already made some fortunate strokes.' Ten years later still, many other details and effects must have been added, since the descriptions speak of representations of trees blown by the wind, of thatches torn off, of wagons and troops of soldiers crossing bridges, etc. By this time, in fact, it was a monster 'moving picture,' of the kind which Pinchbeck and Fawkes were in the habit of exhibiting at Bartholomew Fair. But in Goldsmith's day it was